101 Montunos
Paul Sanwald
(with musical examples) of the piano in Latin musics from the 1850s
on. I figured I could adapt a lot of the stuff to guitar, but it's
amazing how well most of it lays written as is!
I am finding that the hardest thing to get is her very precise
attack/release, which is easy on piano but pretty tough with multiple
voices on the guitar.
Has anyone else ever checked out this book?
--paul
Tom Lippincott
no, but I've thought about getting it. I did pick up another one last summer
called "Afro Cuban Keyboard Grooves, but unlike you I've had a hard time
adapting the stuff to guitar. So much of the stuff seems to be played in 12ths
between the left and right hands, and it's pretty tough to get all those
arpeggios happening in 12ths on guitar. I think it would be just about
impossible without my extra 2 strings. Maybe I should check out that book.
BTW, I know what you mean about the attack/release being an important
component. No specific suggestions, though. That part seems hard too.
Tom Lippincott
Guitarist, Composer, Teacher
audio samples, articles, CD's at:
http://www.tomlippincott.com
8 string guitar audio samples at:
http://www.soundclick.com/bands/3/tomlippincottmusic.htm
Gerry
Lippincott <tomli...@aol.comnospam> wrote:
> > >I just got this book by Rebecca Mauleon, it's basically a history
> > >>(with musical examples) of the piano in Latin musics from the
> > >1850s >on. I figured I could adapt a lot of the stuff to guitar,
> > >but it's >amazing how well most of it lays written as is!
> >
> >I am finding that the hardest thing to get is her very precise
> >attack/release, which is easy on piano but pretty tough with
> >multiple voices on the guitar.
> >
> >Has anyone else ever checked out this book?
Yeah, I have it and think it's a great book, but have only worked with
it so much. The thing about montuno's is that if you don't really have
a group you play them with they get pretty academic. I think Mauleon
is truly fine. Her other book was a real eye-opener regarding some
latin styles.
> no, but I've thought about getting it. I did pick up another one
> last summer called "Afro Cuban Keyboard Grooves, but unlike you I've
> had a hard time adapting the stuff to guitar.
You got that right--I just play them on piano!
> So much of the stuff
> seems to be played in 12ths between the left and right hands, and
> it's pretty tough to get all those arpeggios happening in 12ths on
> guitar. I think it would be just about impossible without my extra 2
> strings. Maybe I should check out that book. BTW, I know what you
> mean about the attack/release being an important component. No
> specific suggestions, though. That part seems hard too.
There is something really fun about montunos whether they are the
single-line variety or the ones that are "bracketed" with moving 12th
and double stops and such. I can just play them forever and the groove
just gets mightier and mightier!
--
First they gerrymander us into one-party fiefs. Then they tell us they only
care about the swing districts. They they complain about voter apathy.
-- Gail Collins
paul
wrote:
>
>no, but I've thought about getting it. I did pick up another one last summer
>called "Afro Cuban Keyboard Grooves, but unlike you I've had a hard time
>adapting the stuff to guitar.
I had to reduce some things, but at least in the first chapter a lot
of the sound is octaves in the bass/melody with voices in between. her
voicings for min7th chords in the 1st example are straight off the
guitar:
Am7: G C E A
D7: F# C E A
doesn't get any more guitaristic than that. I suspect I will run into
issues later on in the book. great book, btw, very well written.
in the "arpeggiated montuno" example, I have noticed that octaves on
the down beat and the "and" of 4 and single notes for the rest get a
good approximation of the sound she gets.
--paul
Tom Lippincott
>the down beat and the "and" of 4 and single notes for the rest get a
>good approximation of the sound she gets.
>
>--paul
I've tried things like that too; when things are in octaves, leaving out the
lower octave on some notes.
The thing that made me decide once and for all to try and adapt those things to
guitar was when I found out that piano players had appropriated all those lines
from tres and quatro players anyway.
Curt Sheller
Sanwald <pcsa...@pobox.com> wrote:
I have that book and it's pretty cool. I worked through quite a few of
the examlples.
Curt Sheller